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Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI* Principal Guest Conductor YANNICK NÉZET-SÉGUIN Leader pieter schoeman Composer in Residence JULIAN ANDERSON Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL Saturday 24 November 2012 | 7.30pm

YANNICK NÉZET-SÉGUIN conductor sarah-jane brandon soprano sarah connolly mezzo-soprano ROBIN TRITSCHLER tenor HANNO MÜLLER-BRACHMANN bass-baritone london philharmonic choir

haydn Missa in Angustiis (Nelson Mass), Hob. XXII/11 (43’) Interval r strauss Ein Heldenleben (‘A Hero’s Life’), Op. 40 (46’)

FREE Barlines post-concert discussion The Clore Ballroom at Royal Festival Hall Artists involved in the performance will discuss the evening’s programme. All welcome, no booking required.

* supported by the Tsukanov Family and one anonymous donor CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

PROGRAMME £3 CONTENTS 2 Welcome / Leader 3 About the Orchestra 4 Tonight’s performers 5 Yannick Nézet-Séguin 6 Sarah-Jane Brandon / Sarah Connolly 7 Robin Tritschler / Hanno Müller-Brachmann 8 London Philharmonic Choir 9 Programme notes 11 Nelson Mass text 13 Programme notes contd. 15 Next concerts 16 Birthday Appeal 2012/13 17 Supporters 18 Orchestra news 19 Christmas gifts from the LPO 20 LPO administration The timings shown are not precise and are given only as a guide.


pieter schoeman leader

Pieter Schoeman was appointed Leader of the LPO in 2008, having previously been Co-Leader since 2002.


Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email We look forward to seeing you again soon. A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

© Patrick Harrison

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Born in South Africa, he made his solo debut aged 10 with the Cape Town Symphony Orchestra. He studied with Jack de Wet in South Africa, winning numerous competitions including the 1984 World Youth Concerto Competition in the US. In 1987 he was offered the Heifetz Chair of Music scholarship to study with Eduard Schmieder in Los Angeles and in 1991 his talent was spotted by Pinchas Zukerman, who recommended that he move to New York to study with Sylvia Rosenberg. In 1994 he became her teaching assistant at Indiana University, Bloomington.  Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and Southbank Centre’s Queen Elizabeth Hall in London. As a chamber musician he regularly performs at London’s prestigious Wigmore Hall. As a soloist with the London Philharmonic Orchestra, Pieter has performed Arvo Pärt’s Double Concerto with Boris Garlitsky, Brahms’s Double Concerto with Kristina Blaumane, and Britten’s Double Concerto with Alexander Zemtsov, which was recorded and released on the Orchestra’s own record label to great critical acclaim. He has recorded numerous violin solos with the London Philharmonic Orchestra for Chandos, Opera Rara, Naxos, X5, the BBC and for American film and television, and led the Orchestra in its soundtrack recordings for The Lord of the Rings trilogy.   In 1995 Pieter became Co-Leader of the Orchestre Philharmonique de Nice. Since then he has appeared frequently as Guest Leader with the Barcelona, Bordeaux, Lyon, Baltimore and BBC symphony orchestras, and the Rotterdam Philharmonic Orchestra. Pieter is a Professor of Violin at Trinity Laban Conservatoire of Music and Dance.

2 | London Philharmonic Orchestra


The London Philharmonic Orchestra is one of the world’s finest orchestras, balancing a long and distinguished history with a reputation as one of the UK’s most adventurous and forward-looking orchestras. As well as giving classical concerts, the Orchestra also records film and video game soundtracks, has its own record label, and reaches thousands of Londoners every year through activities for schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932, and since then its Principal Conductors have included Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. The current Principal Conductor is Vladimir Jurowski, appointed in 2007, and Yannick Nézet-Séguin is Principal Guest Conductor.

The London Philharmonic Orchestra has recorded many blockbuster scores, from The Lord of the Rings trilogy to Lawrence of Arabia, The Mission, East is East, Hugo, and The Hobbit: An Unexpected Journey. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now nearly 70 releases available on CD and to download. Recent additions include Dvořák’s Stabat Mater under Neeme Järvi; Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski; Sibelius’s Symphonies Nos. 5 & 6 under the late Paavo Berglund; and the world premiere of Ravi Shankar’s First Symphony conducted by David Murphy. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics.

The Orchestra is Resident Orchestra at Southbank Centre’s Royal Festival Hall in London, where it has performed since it opened in 1951, giving around 40 The London Philharmonic Orchestra maintains an concerts there each season. 2012/13 highlights include energetic programme of activities for young people and three concerts with Vladimir Jurowski based around local communities. Highlights include the Deutsche the theme of War and Peace in collaboration with the Bank BrightSparks Russian National Orchestra; Kurt schools’ concerts; the Weill’s The Threepenny Opera, Leverhulme Young also conducted by Jurowski; 20th- Nézet-Séguin willed the LPO to an Composers project; century American works with almost delirious dynamism … Stunning. and the Foyle Future Marin Alsop; Haydn and Strauss Edward Seckerson, The Independent, 11 April 2010 Firsts orchestral with Yannick Nézet-Séguin; and training programme the UK premiere of Carl Vine’s for outstanding young players. Over recent years, Second Piano Concerto with pianist Piers Lane under developments in technology and social networks have Vassily Sinaisky. Throughout 2013 the Orchestra will enabled the Orchestra to reach even more people collaborate with Southbank Centre on The Rest Is Noise worldwide: all its recordings are available to download festival, based on Alex Ross’s book of the same name from iTunes and, as well as a YouTube channel, news and charting the 20th century’s key musical works and blog, iPhone app and regular podcasts, the Orchestra historical events. has a lively presence on Facebook and Twitter. The Orchestra has flourishing residencies in Brighton Find out more and get involved! and Eastbourne, and performs regularly around the UK. Every summer, the Orchestra leaves London for four months and takes up its annual residency accompanying the famous Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra since 1964. The Orchestra also tours internationally, performing concerts to sell-out audiences worldwide. Tours in the 2012/13 season include visits to Spain, Germany, France, Switzerland, the USA and Austria.

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tonight’s performers

First Violins Pieter Schoeman* Leader Vesselin Gellev Sub-Leader Chair supported by John & Angela Kessler

Ilyoung Chae Chair supported by Moya Greene

Katalin Varnagy Catherine Craig Thomas Eisner Tina Gruenberg Martin Höhmann Geoffrey Lynn Robert Pool Yang Zhang Rebecca Shorrock Alina Petrenko Peter Nall Galina Tanney Caroline Sharp Second Violins Andrew Storey Guest Principal Jeongmin Kim Joseph Maher Fiona Higham Ashley Stevens Andrew Thurgood Imogen Williamson Alison Strange Peter Graham Stephen Stewart Sheila Law Elizabeth Baldey Stephen Dinwoodie Sarah Buchan Violas Fiona Winning Guest Principal Robert Duncan Gregory Aronovich

Katharine Leek Benedetto Pollani Laura Vallejo Susanne Martens Naomi Holt Michelle Bruil Daniel Cornford Sarah Malcolm Martin Fenn Cellos Kristina Blaumane Principal Francis Bucknall Laura Donoghue Gregory Walmsley Santiago Carvalho† Susanna Riddell Liubov Ulybesheva Tom Roff Tae-Mi Song Sibylle Hentschel Double Basses Kevin Rundell* Principal Tim Gibbs Co-Principal Laurence Lovelle George Peniston Richard Lewis Kenneth Knussen Helen Rowlands Tom Walley Flutes Jaime Martín* Principal Sue Thomas Chair supported by the Sharp Family

Joanna Marsh

Piccolo Stewart McIlwham* Principal

Trumpets Paul Beniston* Principal Anne McAneney* Chair supported by Geoff & Meg Mann

Oboes Ian Hardwick Principal Angela Tennick Holly Randall

Nicholas Betts Co-Principal Daniel Newell John MacDomnic

Cor Anglais Sue Bohling Principal

Trombones Mark Templeton* Principal Robert Workman

Chair supported by Julian & Gill Simmonds

Clarinets Robert Hill* Principal Emily Meredith Bass Clarinet Paul Richards Principal E-flat Clarinet Nicholas Carpenter* Principal Bassoons Gretha Tuls Guest Principal Gareth Newman* Dominic Tyler Contrabassoon Simon Estell Principal Horns John Ryan David Pyatt Guest Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison Anthony Chidell Brendan Thomas Jonathan Lipton Marcus Bates

Bass Trombone Lyndon Meredith Principal Tuba Lee Tsarmaklis* Principal Euphonium David Whitehouse Timpani Simon Carrington* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Keith Millar Olly Yates Eddy Hackett Harps Rachel Masters* Principal Emma Ramsdale Organ Catherine Edwards * Holds a professorial appointment in London † Chevalier of the Brazilian Order of Rio Branco

Chair Supporters The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: David & Victoria Graham Fuller Caroline, Jamie & Zander Sharp

4 | London Philharmonic Orchestra


© Marco Borggreve


Yannick Nézet-Séguin is Music Director of both the Rotterdam Philharmonic Orchestra and The Philadelphia Orchestra. He has been Principal Guest Conductor of the London Philharmonic Orchestra since 2008 and Artistic Director and Principal Conductor of the Orchestre Métropolitain (Montreal) since 2000. His European debut in 2004 swiftly led to invitations to many ensembles such as the Dresden Staatskapelle, the Berlin Philharmonic, the Bavarian Radio Symphony Orchestra, the Vienna Philharmonic (in Salzburg, Lucerne and Vienna), the Accademia Nazionale di Santa Cecilia, the Royal Stockholm Philharmonic Orchestra and the Chamber Orchestra of Europe. He made his BBC Proms debut in 2009 with the Scottish Chamber Orchestra, returning the following year with the Rotterdam Philharmonic Orchestra. Summer 2012 saw concerts with the Orchestre Métropolitain in Canada; The Philadelphia Orchestra in Vail and Saratoga; and concerts at Lincoln Center’s Mostly Mozart Festival in New York with the Chamber Orchestra of Europe and the Mostly Mozart Festival Orchestra. A notable opera conductor, Nézet-Séguin made his debut at the Salzburg Festival in 2008 with a new production of Gounod’s Roméo et Juliette, returning to the city for the 2010 Mozartwoche and Don Giovanni at the 2010 and 2011 summer festivals. For the Metropolitan Opera he has conducted Carmen, Don Carlo and Faust, and will return each season. He will return to the Teatro alla Scala and the Royal Opera House, Covent Garden, following debuts in 2011 (Roméo et Juliette) and 2012 (Rusalka) respectively. For the Netherlands Opera he has conducted The Makropulos Case, Turandot and Don Carlo (all with the Rotterdam Philharmonic Orchestra) and in 2011 embarked on a major opera series for the Festspielhaus Baden-Baden. Yannick Nézet-Séguin conducted his inaugural concerts as Music Director of The Philadelphia Orchestra last month. Other highlights of the 2012/13 season include two separate tours to Japan and the Far East with the

Rotterdam Philharmonic Orchestra; a German tour with the London Philharmonic Orchestra; and the complete Schumann symphonies and concertos with the Chamber Orchestra of Europe in Paris. He also returns to the Bavarian Radio Symphony Orchestra and to the Metropolitan Opera for La traviata. Following highly successful DVD releases of Roméo et Juliette (Salzburg Festival, 2008) and Carmen (the Metropolitan Opera, 2010) for their Yellow Label, in July 2012, Deutsche Grammophon announced a major long-term collaboration. Initial plans include a series of three orchestral recordings with the Rotterdam Philharmonic Orchestra, starting with Tchaikovsky’s Sixth Symphony, and live recordings of Mozart’s seven mature operas from the Baden-Baden Summer Festival. The first of these, Don Giovanni (Mahler Chamber Orchestra, 2011), was released in September 2012, with Così fan tutte (Chamber Orchestra of Europe, 2012) as the second instalment. Nézet-Séguin’s discography with the Rotterdam Philharmonic Orchestra includes recordings of Strauss (Ein Heldenleben/Four Last Songs with Dorothea Roschmann) and Berlioz (Symphonie fantastique/La mort de Cléopâtre) for BIS Records; and three EMI/Virgin releases, including an Edison Awardwinning album of Ravel’s orchestral works. With the London Philharmonic Orchestra and Choir he has recorded Brahms’s German Requiem on the LPO’s own label (LPO-0045). He and the Orchestre Métropolitain also continue to enjoy a fruitful recording relationship with the Canadian label ATMA Classique. A native of Montreal, Yannick Nézet-Séguin studied piano, conducting, composition and chamber music at the Conservatoire de musique du Québec in Montreal, and choral conducting at the Westminster Choir College in Princeton, New Jersey, before going on to study with renowned conductors – most notably the Italian maestro Carlo Maria Giulini. His honours include a prestigious Royal Philharmonic Society Award; Canada’s highly coveted National Arts Centre Award; and the Prix Denise-Pelletier, the highest distinction for the arts in Quebec, awarded by the Quebec government. In 2011 he received an honorary doctorate from the University of Quebec in Montreal, and he was appointed a Companion of the Order of Canada in 2012.

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sarah-jane brandon sarah connolly mezzo-soprano

© Peter Warren

Winner of the 2009 Kathleen Ferrier Competition, soprano Sarah-Jane Brandon studied at the Royal College of Music and was a participant in the 2011 Salzburg Festival’s Young Singers Project. On the opera stage she has sung Micäela in Carmen for the Deutsche Oper, Berlin; the Countess in The Marriage of Figaro for Glyndebourne; and First Lady in The Magic Flute for the Rome Opera. Her forthcoming engagements include Pamina in a new production of The Magic Flute for Opéra de Nice; the Countess for Opéra de Dijon and Opéra Théâtre de Saint-Etienne; and Desdemona in a new production of Otello for Cape Town Opera. Her concert engagements in the coming season include Viennese Gala Concerts with the Scottish Chamber Orchestra and Thomas Rösner; Beethoven’s Missa Solemnis with Sir Roger Norrington; and her debut at the BBC Proms with the Hallé and Sir Mark Elder. Recent highlights have included Berg’s Seven Early Songs with the City of Birmingham Symphony Orchestra and Edward Gardner; Mahler’s Symphony No. 4 with the BBC Symphony Orchestra and Sylvain Cambreling; and appearances at the Edinburgh Festival with the Royal Scottish National Orchestra and Sir Andrew Davis, the London Philharmonic Orchestra and Kurt Masur, the City of Birmingham Symphony Orchestra and Andris Nelsons, the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko, and the London Symphony Orchestra with Bernard Haitink. In recital her appearances include Trinity College Cambridge and the Leeds Lieder Festival with Malcolm Martineau; the Musée d’Orsay and Birmingham’s Barber Institute with Simon Lepper; and Wigmore Hall and the Buxton, Hay-on-Wye and Oxford Lieder festivals with Gary Matthewman. She features on The Complete Poulenc Edition accompanied by Graham Johnson, which will shortly be released by Hyperion Records. She studies with Janis Kelly.

6 | London Philharmonic Orchestra

© Peter Warren


Born in County Durham, mezzosoprano Sarah Connolly studied piano and singing at the Royal College of Music, of which she is now a Fellow. She was made a CBE in the 2010 New Year Honours List.

In opera, her appearances include Fricka in Das Rheingold and Die Walküre at Covent Garden; Purcell’s Dido at La Scala; Komponist in Ariadne auf Naxos and Clairon in Capriccio at the Metropolitan Opera; Gluck’s Orfeo at the Bayerische Staatsoper, Munich; the title role in Giulio Cesare and Brangäne in Tristan und Isolde at the Glyndebourne Festival; Sesto in La clemenza di Tito at the Aix-en-Provence Festival; Phèdre in Hippolyte et Aricie at the Paris Opera; and Nerone in L’Incoronazione di Poppea at the Maggio Musicale in Florence and the Gran Teatre del Liceu in Barcelona. She has also sung Octavian in Der Rosenkavalier for Scottish Opera; Komponist for Welsh National Opera; the title role in Maria Stuarda and Roméo in I Capuleti e i Montecchi for Opera North; and Octavian, Romeo, Sesto, Agrippina, Xerxes, Ariodante, Ruggiero, Alcina, the title role in The Rape of Lucretia and Didon in Les Troyens at English National Opera. Future engagements include returns to the Gran Teatre del Liceu in Barcelona, Glyndebourne Festival Opera, the Aix-en-Provence Festival, English National Opera and the Royal Opera House, Covent Garden. Her many concert engagements include appearances at the Aldeburgh, Edinburgh, Lucerne, Salzburg, Tanglewood and Three Choirs Festivals and at the BBC Proms where, in 2009, she was a memorable guest soloist at the Last Night. She has also appeared in recital at Wigmore Hall, the Cheltenham Festival and in New York’s Alice Tully Hall with Malcolm Martineau; at the Edinburgh Festival with John Horler; and at Wigmore Hall, the Oxford Lieder and Cheltenham festivals and in Carnegie Hall’s Weill Hall with Eugene Asti. She has recorded prolifically and twice been nominated for a Grammy Award.


© Garreth Wong


Robin Tritschler graduated from the Royal Irish Academy of Music and the Royal Academy of Music, London. Prizes have included the Ulster Bank Music Foundation Bursary, the Abigail Dodds Lieder Prize, the Song Prize at the 2nd China International Singing Competition and the Song Prize at the Kathleen Ferrier Awards 2006. He won the Lieder prize at the Internationaal Vocalisten Concours in ‘s-Hertogenbosch and Second Prize at the 2007 Wigmore Hall International Song Competition. In recital, Robin has worked with Janne Malinen, James Boyd, Simon Lepper, Eugene Mursky, Roger Vignoles and Graham Johnson. His recital appearances have included the KlavierFest Ruhr, the Aix-en-Provence Festival, the Benjamin Britten Festival at the Cologne Philharmonie, the Brahms Song Festival at the Amsterdam Concertgebouw, the Dublin Hugo Wolf Festival, the Aldeburgh Festival, the Temple Recital Series in Utah, the Washington Vocal Arts Center and Wigmore Hall. On the concert platform, Robin has sung with the National Symphony Orchestra of Ireland, the Irish Chamber Orchestra and the National Symphony Orchestra of Belarus. He frequently broadcasts on radio, including a concert from the Vatican to celebrate the 80th Anniversary of the Vatican State, before Pope Benedict XVI. Robin has sung 1st Jew in Salome under Edo de Waart with the Hong Kong Philharmonic Orchestra, and the tenor role in the world premiere of Roger Waters’s Ça Ira in Poland. He joined Welsh National Opera as a principal artist in the 2008/09 season and made his debut with the Ruhr Triennale Festival in a production of John Cage’s Europeras 1 & 2. This season’s engagements include Wagner Dream for WNO and a return to the Nantes Opera for The Two Widows. Next season he will make his debut at the Royal Opera House, Covent Garden in Wozzeck. He is currently a BBC New Generation Artist. Robin Tritschler replaces the previously advertised tenor, Andrew Staples.

hanno MÜLlerbrachmann bass-baritone Hanno MüllerBrachmann studied with Dietrich Fischer-Dieskau. He has sung with the London, Vienna, Berlin and Radio France Philharmonic orchestras; the Berlin and Dresden Staatskapelle; the Leipzig Gewandhaus Orchestra; the Orchestra National de France; the Monteverdi Choir and Orchestra; and the Boston, Los Angeles and Chicago symphony orchestras. Conductors with whom he has worked include Sir Simon Rattle, Christian Thielemann, Kurt Masur, Bernard Haitink, Nikolaus Harnoncourt, Fabio Luisi, Christoph von Dohnányi, Heinz Hollinger, Myung-Whun Chung and Sir John Eliot Gardiner. He made his Carnegie Hall debut with the Chicago Symphony Orchestra under Daniel Barenboim and has sung at festivals in Granada, Flanders, Dresden, Salzburg, Lucerne and Vienna. He was a member of the ensemble of the Berlin State Opera from 1998–2011, and has also appeared at the Bavarian, Hamburg and Vienna state operas and the San Francisco Opera. Hanno has given recitals in Berlin, Graz, Amsterdam, Antwerp, Tokyo, Hamburg, Paris and Lausanne, at London’s Wigmore Hall and at the Schwarzenberg Schubertiade, Berlin Festwochen and the Ittingen and Edinburgh festivals. His many recordings include Schubert and Schumann recital discs, Bach’s St Matthew Passion with the Leipzig Gewandhaus Orchestra under Riccardo Chailly, and the Gramophone Award-winning recording of The Magic Flute conducted by Claudio Abbado. This season’s engagements include Figaro with the Budapest Festival Orchestra under Iván Fischer in Budapest, Berlin and New York; Mozart’s Requiem with Camerata Salzburg under Louis Langrée; Bach’s St Matthew Passion with the Orchestra of St Luke’s under Iván Fischer at Carnegie Hall; and performances of Britten’s War Requiem in Birmingham, Hannover, Dresden and Paris with the City of Birmingham Symphony Orchestra under Andris Nelsons. Hanno is a Professor at the Musikhochschule Karlsruhe. London Philharmonic Orchestra | 7

london philharmonic choir PATRON HRH Princess Alexandra | PRESIDENT Sir Roger Norrington | ARTISTIC DIRECTOR Neville Creed ACCOMPANIST Jonathan Beatty | CHAIRMAN Mary Moore | CHOIR MANAGER Kevin Darnell

Founded in 1947, the London Philharmonic Choir is widely regarded as one of Britain’s finest choirs, consistently meeting with great critical acclaim. It has performed under leading international conductors throughout the last 65 years and made numerous recordings for CD, radio and television. Enjoying a close relationship with the London Philharmonic Orchestra, the Choir frequently joins it for concerts in the UK and abroad. In 2011/12, engagements included Scriabin’s Prometheus, Poem of Fire, Rossini’s Stabat Mater, Prokofiev’s Ivan the Terrible, Bruckner’s Te Deum, Szymanowski’s Symphony No. 3, Zemlinsky’s Psalm 23, Delius’s Sea Drift and Suk’s Ripening. This season, concerts with the LPO include Rachmaninoff’s The Bells, Schoenberg’s A Survivor from Warsaw, Brahms’s Ein deutsches Requiem, Elgar’s The Dream of Gerontius, Stravinsky’s Symphony of Psalms, Orff’s Carmina Burana and Tippett’s A Child of our Time. Recently released CDs with the London Philharmonic Orchestra include Brahms’s Ein deutsches Requiem with Yannick Nézet-Séguin, Holst’s The Planets, Mahler’s Symphony No. 2, Haydn’s The Seven Last Words of our Saviour on the Cross and Honegger’s Une Cantate de Noël under Vladimir Jurowski, and Beethoven’s Missa Solemnis with Christoph Eschenbach.

Sopranos Catherine Allum, Mary Bateman, Laura Buntine, Alana Clark, Sally Cottam, Sheila Cox, Sarah Deane-Cutler, Alison Flood, Claudie Gheno, Rachel Gibbon, Jane Hanson, Catrin Harrison, Sally Harrison, Elizabeth Hicks, Jenni Kilvert, Frances Lake, Clare Lovett, Natasha Maslava, Marj McDaid, Katie Milton, Linda Park, Lydia Pearson, Diana Richards, Tania Stanier, Tracey Szwagrzak, Susan Thomas, Agnes Tisza, Nicola Ward, Frances Wheare, Rebecca Wilson Altos Joanna Arnold, Susannah Bellingham, Sally Brien, Andrei Caracoti, Isabelle Cheetham, Noel Chow, Alice Conway, Janik Dale, Margaret de Valois Rowney, Moira Duckworth, Andrea Easey, Lynn Eaton, Carmel Edmonds, Henrietta Hammonds, Sandra Horne, Andrea Lane, Mary Moore,

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The Choir appears regularly at the BBC Proms at the Royal Albert Hall, and performances have included the UK premieres of Mark-Anthony Turnage’s A Relic of Memory and Goldie’s Sine Tempore in the Evolution! Prom. The Choir performed at the Doctor Who Proms in 2008 and 2010, and last year appeared in Verdi’s Requiem, Liszt’s A Faust Symphony and Beethoven’s Missa Solemnis. This season it performed Elgar’s The Apostles with Sir Mark Elder and Howells’s Hymnus Paradisi under Martyn Brabbins. The Choir has visited numerous European countries and performed in Kuala Lumpur, Hong Kong and Perth, Australia. The Choir also works with other leading orchestras, and in June joined forces with the London Symphony Orchestra and Chorus to perform Berlioz’s Grande Messe des Morts with Sir Colin Davis at St Paul’s Cathedral. The Choir also sings in Raymond Gubbay’s Classical Spectacular and Christmas concerts, and has appeared in gala concerts with Russell Watson and Katherine Jenkins. The Choir prides itself on achieving first-class performances from its members, who are volunteers from all walks of life. For more information, including details about how to join, please visit

Angela Pascoe, Carolyn Saunders, Muriel Swijghuisen Reigersberg, Susi Underwood, Libby Vannet, Jenny Watson Tenors Scott Addison, David Aldred, Geir Andreassen, Chris Beynon, Lorne Cuthbert, Kevin Darnell, Fred Fisher, Robert Geary, Iain Handyside, Stephen Hodges, Patrick Hughes, Andrew Mackie, Tony Masters, Rhydian Peters, Luke Phillips, Tony Wren Basses Jonathon Bird, Gordon Buky-Webster, Geoff Clare, David Clark, Phillip Dangerfield, Marcus Daniels, Nigel Grieve, Mark Hillier, David Hodgson, Rylan Holey, Aidan Jones, John G Morris, Ashley Morrison, Will Parsons, Johan Pieters, David Regan, Daniel Snowman, Peter Sollich, John Wood


Speedread Everybody loves a hero, particularly when he or she is up against a particularly dastardly foe. They don’t come much more dastardly than Napoleon, and they don’t come much more heroic than Lord Nelson. Though Haydn’s 1798 Mass carries the Admiral’s name, the composer had no idea Napoleon’s fleet was being routed by Nelson as his pen traversed his paper. Perhaps, then, we’d better think of the real hero of the Nelson Mass as Haydn himself – a man who worked with a quiet dedication and craft for 30 years before being pushed into accepting fame and glory, and who even within the constraints of economics (and with a proportion of his orchestra missing) managed to write a piece so uncompromisingly brilliant as this.

Joseph Haydn 1732–1809

Sarah-Jane Brandon soprano Sarah Connolly mezzo-soprano Robin Tritschler tenor Hanno Müller-Brachmann bass-baritone London Philharmonic Choir The text begins on page 11. The last period of Joseph Haydn’s career must have felt as disorientating as it did liberating. To rewind five years, in 1790 Haydn had found himself effectively dismissed from a job he’d been doing for some three decades: providing and playing music for a family of aristocrats outside Vienna. With his new-found freedom he’d taken the opportunity to travel – making two staggeringly successful trips to London – but by 1795 he was in Austria-Hungary again and with his old job back. The

Uncompromising brilliance is something Richard Strauss knew how to conjure, and unlike Joseph Haydn he’d probably have used the words to describe himself without the hint of a blush. He did as much, too, in his musical autobiography Ein Heldenleben (‘A Hero’s Life’), written 100 years after Haydn’s Mass. Perhaps that’s a little unfair on the young and ambitious Strauss, though. There’s something slightly ironic about Ein Heldenleben, and its composer meant it that way. Besides, Strauss did change as his life progressed, and he predicted as much in the piece’s music. It begins with heroic exhibitionism, scattering adversaries with panache. But it finishes in a place of peace; fulfilled, contented and disarmingly noble.

Missa in Angustiis (Nelson Mass), Hob. XXII/11 I Kyrie II Gloria III Credo IV Sanctus V Benedictus VI Agnus Dei

only difference being, the grand musical establishment he’d once had under his command no longer existed. Haydn had a fraction of the responsibility, but nearly a doubling of the salary (with the professional respect he’d found so elusive thrown in, too). His responsibilities, in fact, began and ended with the writing of a Mass each September to celebrate the name day of the family princess. He duly did this for six years on the trot, writing six great Masses that are some of the finest works that carry his name. The Masses built on the direct, dramatic symphonies Haydn had written for London and seemed to turn on new, symphonic hinges that aided both their coherence and their flow. It wasn’t all freedom, celebration and musicological advance, however, hence the subtitle Haydn gave the third of his six Masses, Missa ‘in angustiis’, (‘in

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straitened times’). That probably refers to the dismissal (for financial reasons) of the court orchestra’s wind players, which left Haydn with an ensemble of strings, trumpets, timpani and organ (if he played the latter himself). But could the title have carried wider, political meaning? Austria-Hungary was watching nervously in the summer of 1798, when Haydn wrote the Mass, as Napoleon edged closer to Vienna. He had, in fact, been within marching distance of the city in the spring of the previous year. All breathed a sigh of relief, Haydn included, when Admiral Nelson struck at Abu Quir off the coast of Egypt and blew the French fleet out of the water. Haydn didn’t know of the victory as he wrote the Mass and it wasn’t until two years later that he famously met and entertained the Admiral (with a performance of this very Mass). But the victory at Abu Quir was certainly the hottest news on 23 September 1798, the day the Mass was first performed, and there’s every chance the audience christened the piece ‘Nelson’ there and then. So it’s a little ironic not only that the Mass was conceived to reflect ‘straitened times’ but also that it seems to carry the anxieties of all who’d nervously eyeballed Napoleon’s advance a few months earlier. That’s certainly true of the severe Kyrie with its ominous D minor key. That mood returns in the Benedictus, the low trumpet fanfares of the Kyrie returning to quash the optimism of the text ‘Blessed is he who comes in the name of the Lord.’ But tension is soon resolved into unalloyed joy. Firstly in the jubilant Gloria led by charming soprano, a beautiful example of Hadyn’s new treatment of his vocal soloists as elaborators and encouragers rather than isolated aria-singers; and secondly in the Agnus Dei, which floats effortlessly into being in the transcendent key of D major, at first restful with weaving soloists and then celebratory with forthright chorus. In between comes a Credo full of inventive twists in texture and mood, and a compact Sanctus, its warm glow graduating into declamatory praise.

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haydn: nelson mass

I Kyrie


Kyrie eleison, Christe eleison, Kyrie eleison.

Lord have mercy, Christ have mercy, Lord have mercy.

II Gloria


Gloria in excelsis Deo Et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam, Domine Deus, Rex coelestis, Deus Pater omnipotens. Domine Fili unigenite, Jesu Christe, Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus, tu solus Dominus, tu solus Altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris, Amen.

Glory to God in the highest And peace on earth to men of good will. We praise You, we bless You, we adore You, we glorify You. We give You thanks for Your great glory, Lord God, heavenly King, God the Father almighty. Lord the only-begotten Son, Jesus Christ, Lord God, Lamb of God, Son of the Father. You who take away the sins of the world, have mercy on us. You who take away the sins of the world, receive our prayer. You sit at the right hand of the Father, have mercy on us. For You alone are holy, You alone are Lord, you alone are the Most High, Jesus Christ. With the Holy Spirit, in the glory of God the Father, Amen.

III Credo


Credo in unum Deum. Patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et ex patre natum ante omnia saecula. Deum de Deo, lumen et lumine, Deum verum de Deo vero. Genitum, non factum, consubstantialem Patri: per quem omnia facta sunt. Qui propter nos homines, et propter nostram salutem descendit de coelis. Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est. Crucifixus etiam pro nobis, sub Pontio Pilato, passus et sepultus est. Et resurrexit tertia die, secundum scripturas.

I believe in one God. The Father almighty, maker of heaven and earth, of all things visible and invisible, Born of the Father before all worlds. God from God, light from light, true God from true God.

Et ascendit in coelum: sedet ad dexteram Patris,

Begotten, not made, of one being with the Father through whom all things were made. For us men and for our salvation he came down from heaven. And took flesh by the Holy Spirit from the Virgin Mary, and became man. He was crucified also for us; under Pontius Pilate he suffered and was buried. And he rose again on the third day, according to the scriptures. And ascended into heaven; and sits at the right hand of the Father. Please turn the page quietly

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Et iterum venturus est cum gloria, judicare vivos et mortuos, cujus regni non erit finis. Et in Spiritum Sanctum, Dominum, et vivificantem, [qui ex Patre Filioque procedit.] Qui cum Patre et Filio simul adoratur et conglorificatur qui locutus est per Prophetas. Et unam sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, Et vitam venturi saeculi, Amen.

He will come again with glory to judge the living and the dead, and his kingdom will have no end. And I believe in the Holy Spirit, the Lord and giver of life; [who proceeds from the Father and the Son;] Who with the Father and the Son is adored and glorified, who has spoken through the prophets. And in one holy, catholic and apostolic Church. I acknowledge one baptism for the remission of sins. I look forward to the resurrection of the dead, And the life of the world to come, Amen.

The words in [ ] do not appear in the Nelson Mass.

IV Sanctus


Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.

Holy, holy, holy Lord God of power. Heaven and earth are full of Your glory. Hosanna in the highest.

V Benedictus


Benedictus qui venit in nomine Domini. Osanna in excelsis.

Blessed is he who comes in the name of the Lord. Hosanna in the highest.

VI Agnus Dei

Agnus Dei

Agnus Dei qui tollis peccata mundi, miserere nobis.

Lamb of God, who takes away the sins of the world, have mercy upon us. Grant us peace.

Dona nobis pacem.

INTERVAL – 20 minutes An announcement will be made five minutes before the end of the interval.

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Richard Strauss

Ein Heldenleben (‘A Hero’s Life’), Op. 40


By 1898 the 34-year-old Strauss had completed seven large orchestral tone-poems, five of them inspired by larger-than-life characters from literature or folklore. As he came to plan his eighth, ‘A Hero’s Life’, Strauss turned to a character who fascinated him ‘as much as Napoleon or Alexander’. That character was the composer himself. His new work was to be an orchestral autobiography.

In Ein Heldenleben, the listener experiences all of the above and more. This is Strauss’s most rounded, comprehensive and ambitious tone-poem, and sees him expanding further his already impressive toolbox of orchestral effects. There’s room for all of them in Strauss’s music precisely because of its narrative range: we meet not just the central Hero, but a confection of souls with whom he fraternised and fought.

It sounds like an act of tremendous immodesty – even before you experience the bombastic brilliance of Strauss’s opening statements, intended to introduce the Hero’s qualities of ambition, resilience, bravery and intellect. But Strauss probably had his tongue firmly in his cheek when he talked of a picture of himself in the work. Besides, at the time of writing he was young and on the brink of change. His move into opera would see him write music of touching vulnerability, while the effects of the Second World War would draw from him the resigned, autumnal shades of Metamorphosen and the Four Last Songs. Moreover, Strauss himself suggested that the heroic character represented in Ein Heldenleben was only partly his own. In a letter to his father he wrote that the Hero was in fact ‘not a single poetical or historical figure, but rather a more general and free ideal of great and manly heroism’.

The orchestral introduction to the Hero mentioned above launches with a broad, all-seeing theme spanning three octaves and lasting 16 bars. The second of Strauss’s six sections is labelled ‘The Hero’s Adversaries’, a thinly disguised caricature of music critics and a representation of more abstract barriers and doubts. For Strauss, there were four types of music critic: carpers (heard on the flute); vituperators (oboe); whiners (cor anglais); and hair-splitters (tuba). It’s said the latter’s theme is explicitly intended to mimic the name of Strauss’s nemesis in the Munich press, a certain Doctor Dehring (think Doc-tor DEH-ring). Needless to say, the Hero despatches them all with ease – though some critical spectres continue to haunt the coming sections.

No matter what the heroic qualities (or otherwise) of Strauss the man, his music up to 1898 had been just about as heroic as it gets. Claude Debussy commented on its ‘frenzied energy which carries one with him as long as he chooses’, referring to his orchestral effects as ‘those of a book of pictures, or even a cinematography.’ The tone-poems Strauss had already spawned were powerful, rich, malleable, unpredictable, virtuosic, wickedly exciting, touchingly tender and intensely dramatic – all wrapped up in the composer’s own brand of instrumental character and orchestral technicolour.

Listen out next for Strauss’s wife Pauline, represented by a lone violin which sings a series of increasingly demanding cadenzas. Pauline was capricious and tricky and Strauss knew it, but he also knew he couldn’t live without her; this section, ‘The Hero’s Companion’, ends with a rapturous love scene, gatecrashed at its conclusion by the sniping critics of the previous portrait. Three offstage trumpets herald the next section, which depicts the Hero’s brave deeds on the battlefield with some of Strauss’s most energetic and fearsome music. Strauss said at the time of writing that no instrument could be more heroic than the horn; at the battle’s conclusion all eight of the score’s horns join in unison to proclaim victory. London Philharmonic Orchestra | 13


Strauss’s most explicitly autobiographical music comes in the next section, titled ‘The Hero’s Works of Peace’. Here Strauss quotes from nine of his previous compositions, including six tone-poems. There are notable outings from Till Eulenspiegel’s Merry Pranks and Don Juan on woodwinds, as well as the return of the seemingly irrepressible tuba of Doctor Dehring, heard right at the section’s opening. In Strauss’s final chapter, the Hero ‘withdraws from the world and finds fulfilment’. After one last internal struggle the cor anglais recalls a pastoral theme from the tone-poem Don Quixote, and the music moves from bravado to serenity; from confidence to disarming love.

There are final utterances from a solo horn and violin – pictures of Strauss and his wife having transcended their troubles. Strauss lived through every note of his Heldenleben in public as the conductor of the work’s first performance on 3 March 1899 in Frankfurt. His compositional voice might have been on the brink of change, but Ein Heldenleben and its predecesssors heralded an era of orchestral virtuosity that flourished in the 20th century and continues to do so today. For many – and not just the horn players – Ein Heldenleben remains the ultimate orchestral test-piece. Programme notes © Andrew Mellor

Yannick Nézet-Séguin conducts on the LPO Label Brahms: A German Requiem Yannick Nézet-Séguin conductor Elizabeth Watts soprano Stéphane Degout baritone London Philharmonic Orchestra and Choir £9.99 | LPO-0045 ‘A German Requiem that doesn’t rush and achieves a remarkable inwardness ... I found so many things to enjoy about this recording that I didn’t begrudge a single minute of the time spent to savour them.’ Gramophone Available from, the London Philharmonic Orchestra Box Office (020 7840 4242, Monday–Friday 10am–5pm), all good CD outlets and the Royal Festival Hall shop. Downloads available from iTunes, Amazon, eMusic and

14 | London Philharmonic Orchestra

next LPO concertS at royal festival hall

Wednesday 28 November 2012 | 7.30pm

Wednesday 12 December 2012 | 7.30pm

Beethoven Overture, Fidelio Schoenberg Ode to Napoleon Bonaparte Schoenberg A Survivor from Warsaw Nono Julius Fučík Beethoven Symphony No. 5

Grisey Quatre chants pour franchir le seuil Mahler Symphony No. 5

Vladimir Jurowski conductor Robert Hayward narrator (Ode to Napoleon Bonaparte & A Survivor from Warsaw) Omar Ebrahim Fučík (Julius Fučík) Malcom Sinclair Voice (Julius Fučík) Annabel Arden director Gentlemen of the London Philharmonic Choir

6.15–6.45pm FREE pre-concert discussion Royal Festival Hall The London Philharmonic Orchestra’s Composer in Residence, Julian Anderson, takes a look at the music of Gérard Grisey. All welcome, no booking required.

6.15–6.45pm FREE pre-concert discussion Royal Festival Hall Composer and academic Silvina Milstein looks at the works of Nono and Schoenberg. All welcome, no booking required. FREE Barlines post-concert discussion Level 2 The Clore Ballroom at Royal Festival Hall Artists involved in the performance will discuss the evening’s programme. All welcome, no booking required.

Saturday 1 December 2012 | 7.30pm Zimmermann Ecclesiastical Action, for two speakers, bass and orchestra (semi-staged) Brahms A German Requiem Vladimir Jurowski conductor Dietrich Henschel bass-baritone Omar Ebrahim Speaker 1 (Ecclesiastical Action) Malcom Sinclair Speaker 2 (Ecclesiastical Action) Annabel Arden director (Ecclesiastical Action) Miah Persson soprano (A German Requiem) London Philharmonic Choir

Vladimir Jurowski conductor Allison Bell soprano

Friday 14 December 2012 | 7.30pm JTI Friday Series Brahms Tragic Overture Wagner (arr Henze) Wesendonck Lieder Bruckner Symphony No. 1 (1877 Linz edition) Vladimir Jurowski conductor Anna Larsson contralto

Saturday 19 January 2013 | 7.30pm R Strauss Also sprach Zarathustra R Strauss Four Early Songs, Op. 33 R Strauss Notturno, Op. 44 No. 1 R Strauss Salome (final scene) Vladimir Jurowski conductor Karita Mattila soprano Thomas Hampson baritone Concert generously supported by the Sharp Family

FREE: 6.15–6.45pm, Royal Festival Hall An introductory look at the LPO’s focus on The Rest Is Noise.

Booking details FREE Barlines post-concert discussion Level 2 The Clore Ballroom at Royal Festival Hall Artists involved in the performance will discuss the evening’s programme. All welcome, no booking required.

London Philharmonic Orchestra Ticket Office 020 7840 4242 Monday to Friday 10.00am–5.00pm (no transaction fee) Southbank Centre Ticket Office (transaction fees apply) 0844 847 9920 Daily 9.00am–8.00pm

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London Philharmonic Orchestra Birthday Appeal 2012/13 This season the London Philharmonic Orchestra has reached 80 years on the concert platform. We would like you to consider helping us celebrate by making a donation to our birthday wish list. These presents are all items that the Orchestra desperately needs this season. Alternatively you could make a donation to be spent on whatever we need the most.




Two double bass stools

Three tom-toms

Carmina Burana music hire

Our double bass stools are on their last legs. Support our musicians by giving them something new to sit on!

We often have to hire percussion. Owning our own tom-toms would make a great birthday present!

Donate towards the score and part hire for the conductor, Orchestra and London Philharmonic Choir for the performance of Orff’s Carmina Burana on 6 April 2013.




FUNharmonics illustrations

Recording a concert for live stream

New terminal server

Donate to the bespoke illustrations and animation designed for each themed FUNharmonics family concert, to help educate and increase engagement with our young audiences.

Help us to increase the Orchestra’s reach around the world through donating to the recording of a 2013 concert for live stream and potential CD release.

The socks option – sounds boring but we really need it! The terminal server keeps our staff and backstage team in touch by providing remote access to emails and files when the Orchestra is on tour.

Get involved and visit for more information. Alternatively get in touch via or call 020 7840 4212.

16 | London Philharmonic Orchestra

We would like to acknowledge the generous support of the following Thomas Beecham Group Patrons, Principal Benefactors and Benefactors:

Guy & Utti Whittaker Manon Williams

David Ellen Commander Vincent Evans Mr Daniel Goldstein Mr & Mrs Jeffrey Herrmann Peter MacDonald Eggers Mr & Mrs David Malpas Andrew T Mills Mr Maxwell Morrison Mr Michael Posen Mr & Mrs Thierry Sciard Mr John Soderquist & Mr Costas Michaelides Mr & Mrs G Stein Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Lady Marina Vaizey Howard & Sheelagh Watson Mr Laurie Watt Mr Anthony Yolland

Ken Follett Pauline & Peter Halliday Michael & Christine Henry Mr Ivan Hurry Mr Glenn Hurstfield Mr R K Jeha Mr Gerald Levin Sheila Ashley Lewis Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Mr Frank Lim Paul & Brigitta Lock Mr Brian Marsh John Montgomery Mr & Mrs Andrew Neill Edmund Pirouet Mr Peter Tausig Mrs Kazue Turner Des & Maggie Whitelock Bill Yoe

Principal Benefactors Mark & Elizabeth Adams Jane Attias Lady Jane Berrill Desmond & Ruth Cecil Mr John H Cook Mr Charles Dumas

Benefactors Mrs A Beare Dr & Mrs Alan Carrington CBE FRS Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr David Dennis Mr David Edgecombe Mr Richard Fernyhough

Hon. Benefactor Elliott Bernerd

Thomas Beecham Group The Tsukanov Family Anonymous The Sharp Family Julian & Gill Simmonds Garf & Gill Collins Andrew Davenport Mrs Sonja Drexler David & Victoria Graham Fuller Moya Greene John & Angela Kessler Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Eric Tomsett

Hon. Life Members Kenneth Goode Pehr G Gyllenhammar Edmund Pirouet Mrs Jackie Rosenfeld OBE

The generosity of our Sponsors, Corporate Members, supporters and donors is gratefully acknowledged: Corporate Members Silver: AREVA UK British American Business Hermes Fund Managers Pritchard Englefield Bronze: Lisa Bolgar Smith and Felix Appelbe of Ambrose Appelbe Appleyard & Trew LLP Berkeley Law Charles Russell Lazard Leventis Overseas Education Partner Boeing Corporate Donor Lombard Street Research Preferred Partners Corinthia Hotel Heineken Lindt & Sprüngli Ltd Villa Maria

In-kind Sponsors Google Inc Sela / Tilley’s Sweets Trusts and Foundations Addleshaw Goddard Charitable Trust Angus Allnatt Charitable Foundation BBC Performing Arts Fund The Boltini Trust Britten-Pears Foundation The Candide Trust The Coutts Charitable Trust Diaphonique, Franco-British fund for contemporary music Dunard Fund The Equitable Charitable Trust The Eranda Foundation Fidelio Charitable Trust The Foyle Foundation J Paul Getty Junior Charitable Trust The Jeniffer and Jonathan Harris Charitable Trust Capital Radio’s Help a London Child The Hobson Charity The Kirby Laing Foundation The Idlewild Trust

The Leverhulme Trust Marsh Christian Trust Adam Mickiewicz Institute The Peter Minet Trust Paul Morgan Charitable Trust The Diana and Allan Morgenthau Charitable Trust Maxwell Morrison Charitable Trust Musicians Benevolent Fund Newcomen Collett Foundation The Austin & Hope Pilkington Trust Serge Rachmaninoff Foundation The Rothschild Foundation The Samuel Sebba Charitable Trust The Bernard Sunley Charitable Foundation John Thaw Foundation The Tillett Trust The Underwood Trust Sir Siegmund Warburg’s Voluntary Settlement Kurt Weill Foundation for Music Garfield Weston Foundation and others who wish to remain anonymous

London Philharmonic Orchestra | 17

orchestra news

ListenAgain: free online concerts by the London Philharmonic Orchestra

Julian Anderson: British Composer Awards nomination

Nothing can replace the experience of a live orchestral concert. We know that. But we also know that you can’t always get to the London Philharmonic Orchestra’s concerts in London or on tour.

Congratulations to Julian Anderson, the Orchestra’s Composer in Residence, whose work The Discovery of Heaven has been shortlisted in the Orchestral category of this year’s British Composer Awards. The work was commissioned by the London Philharmonic and New York Philharmonic orchestras and was premiered at the Royal Festival Hall on 24 March 2012 by the LPO under Ryan Wigglesworth. The other works shortlisted are Sir Harrison Birtwistle’s Concerto for Violin and Orchestra and Rebecca Saunders’s Still. The winners in each category will be unveiled at a ceremony at Goldsmiths’ Hall on Monday 3 December.

We want to share our live music-making with as many people as possible, and so we make at least six live classical concert recordings available for you to listen to online for free each season. Tonight’s concert is the first in the 2012/13 season to be made available in this way. The next one will be Friday 14 December (Vladimir Jurowski conducts Brahms, Wagner and Bruckner). To listen to tonight’s concert, or to sign up for updates about future concerts, visit Photo © Maurice Foxall

LPO Label CD Subscription Scheme: the perfect Christmas gift!

Deutsche Bank BrightSparks concert for GCSE students

We release 8–10 new recordings on our own CD label each year, comprising recent and archive live concert recordings. Recent releases include Brahms’s Symphonies Nos. 1 & 3 with Klaus Tennstedt, Mark-Anthony Turnage orchestral works, Sibelius’s Symphonies Nos. 5 & 6 with Paavo Berglund, and Tchaikovsky’s Symphonies Nos. 4 & 5 with Vladimir Jurowski.

Monday 5 November saw over 2000 GCSE music students from across London attend the Orchestra’s Deutsche Bank BrightSparks concert at Royal Festival Hall. This was one of eight schools’ concerts taking place during the 2012/13 season, which in total will give 16,000 pupils across all ages the chance to experience a live orchestra. The concerts are especially designed to complement the National Curriculum.

Treat a friend or relative to a 6-month or annual CD subscription and they will receive every new release on the LPO Label, mailed directly to them before the CDs are available in the shops. A 6-month subscription costs £44.99 (5 CDs, worth over £50) and an annual subscription costs £79.99 (10 CDs, worth over £100). In months with no new release, we will send specially selected CDs from the LPO Label catalogue. The perfect Christmas present for music lovers! Find out more online or via our Box Office on 020 7840 4242.

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For many of the pupils, these events are the first time they will have visited a concert hall to hear a live orchestra. Through the generous support of Deutsche Bank the LPO is able to offer all tickets for these concerts completely free to schools. On 5 November, choirs from Eltham College (Greenwich), Emanuel School (Wandsworth) and Beaumont School (St Albans), together with instrumentalists from the Centre for Young Musicians in Lambeth, performed side-by-side with the Orchestra.

Virtual Christmas Gifts from the London Philharmonic Orchestra Want to give a ‘different’ present to your music-loving friends or family this Christmas? How about a stocking filler or a gift for someone who has everything? Celebrate with the London Philharmonic Orchestra by giving one or more of our Virtual Gifts. Whether you are helping us to produce world-class concerts or providing a London child with their first experience of live music, your gift will have an impact long after the celebration itself. Each gift comes with a bespoke Christmas card which we can send to you or directly to the recipient with your own personal greeting, along with a 10% discount voucher for a spring 2013 London Philharmonic Orchestra concert of the recipient’s choice. For more details visit or call 020 7840 4212.

Solo moments: £10 Your opportunity to support a sensational musical moment from the London Philharmonic Orchestra and guest soloists during one of next spring’s concerts. Choose from the following: • • • • • • • • •

Flute solo in Ravel’s Mother Goose (Saturday 16 February 2013) Cor anglais solo in Dvořák’s ‘New World’ Symphony (Wednesday 20 February 2013) Clarinet opening of Gershwin’s Rhapsody in Blue (Friday 22 February 2013) Bassoon solo in Stravinsky’s The Rite of Spring (Saturday 16 February 2013) Opening trumpet fanfare in Strauss’s Also sprach Zarathustra (Saturday 19 January 2013) Violin solo in Sibelius’s Violin Concerto (Friday 1 February 2013) Piano solo in Rachmaninoff’s Piano Concerto No. 3 (Friday 15 February 2013) Choir in Orff’s Carmina Burana (Saturday 6 April 2013) Vocal soloists in Weill’s The Threepenny Opera (Saturday 2 March 2013)

Adopt A Class: £30 Your gift will pay for an LPO player to spend an hour with disabled children in a London school, helping them overcome their disabilities through music.

Roll Call: £40 Help us liven up an assembly in one of South London’s schools by sending in a group of LPO musicians.

Centre Stage: £50 Your gift will help us offer the opportunity for a South London school child to perform on the Royal Festival Hall stage. Includes an invitation to watch the culmination of our Schoenberg New Horizons GCSE schools’ composition project on Wednesday 23 January 2013. You can also buy a gift of a year’s membership of the London Philharmonic Orchestra Friends or LPO Contemporaries: visit for more details. In order to guarantee delivery by Christmas please order by Wednesday 19 December 2012. Virtual gifts are intended as a way to show your support for the Orchestra’s charitable objectives this Christmas. The London Philharmonic Orchestra reserves the right to vary concert programmes if necessary. The London Philharmonic Orchestra is a registered charity No. 238045.

London Philharmonic Orchestra | 19


Board of Directors

General Administration

Orchestra Personnel


Victoria Sharp Chairman Stewart McIlwham* President Desmond Cecil CMG Vesselin Gellev* Jonathan Harris CBE FRICS Dr Catherine C. Høgel Martin Höhmann* Angela Kessler Gareth Newman* George Peniston* Sir Bernard Rix Kevin Rundell* Julian Simmonds Mark Templeton* Sir Philip Thomas Natasha Tsukanova Timothy Walker AM Laurence Watt Dr Manon Williams

Timothy Walker AM Chief Executive and Artistic Director

Andrew Chenery Orchestra Personnel Manager

Philip Stuart Discographer

Sarah Thomas Librarian

Gillian Pole Recordings Archive

Michael Pattison Stage Manager

Professional Services

Finance David Burke General Manager and Finance Director

Julia Boon Assistant Orchestra Personnel Manager

* Player-Director

Advisory Council Jonathan Dawson Clive Marks OBE FCA Lord Sharman of Redlynch OBE Victoria Sharp Timothy Walker AM American Friends of the London Philharmonic Orchestra, Inc. Margot Astrachan Chairman David E. R. Dangoor Vice Chair/Treasurer Kyung-Wha Chung Peter M. Felix CBE Alexandra Jupin Dr. Felisa B. Kaplan William A. Kerr Jill Fine Mainelli Kristina McPhee Dr. Joseph Mulvehill Harvey M. Spear, Esq. Danny Lopez Honorary Chairman Noel Kilkenny Honorary Director Victoria Sharp Honorary Director Richard Gee, Esq Of Counsel Robert Kuchner, CPA

Alison Atkinson Digital Projects Manager

Charles Russell Solicitors Crowe Clark Whitehill LLP Auditors

Ken Graham Trucking David Greenslade Instrument Transportation FSC_57678 14 January 2011 15/09/2011 12:30 Page Dr 1 Louise Miller Finance and ITLPO Manager Honorary Doctor Development Concert Management Roanna Gibson Concerts Director (maternity leave) Ruth Sansom Artistic Administrator / Acting Head of Concerts Department Graham Wood Concerts and Recordings Manager Barbara Palczynski Glyndebourne and Projects Administrator Jenny Chadwick Tours and Engagements Manager Alison Jones Concerts Co-ordinator Jo Orr PA to the Chief Executive / Concerts Assistant

Nick Jackman Development Director Helen Searl Corporate Relations Manager Katherine Hattersley Charitable Giving Manager Melissa Van Emden Events Manager Laura Luckhurst Corporate Relations and Events Officer Sarah Fletcher Development and Finance Officer Marketing Kath Trout Marketing Director Mia Roberts Marketing Manager

Matthew Freeman Recordings Consultant

Rachel Williams Publications Manager

Education & Community

Samantha Kendall Box Office Manager (Tel: 020 7840 4242)

Patrick Bailey Education and Community Director Alexandra Clarke Education Manager Caz Vale Community and Young Talent Manager Richard Mallett Education and Community Producer

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Libby Northcote-Green Marketing Co-ordinator Claire Lampon Intern Albion Media Public Relations (Tel: 020 3077 4930)

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Fax: 020 7840 4201 Box Office: 020 7840 4242 The London Philharmonic Orchestra Limited is a registered charity No. 238045. Photograph of Haydn courtesy of the Royal College of Music, London. Front cover photograph © Patrick Harrison. Printed by Cantate.

24 November 2012 LPO programme notes